22,222 research outputs found
Tao ji
No full text明仿宋刊巾箱本.金鑲玉裝修復.框10.1 x 7.4公分, 7行15字, 白口, 單魚尾, 四周單邊. 版心中鐫"陶集"及卷次.鈐印: "王笥山樓".Ming fang Song kan jin xiang ben.Jin xiang yu zhuang xiu fu.Kuang 10.1 x 7.4 gong fen, 7 hang 15 zi, bai kou, dan yu wei, si zhou dan bian. Ban xin zhong juan "Tao ji" ji juan ci.Qian yin: "Wang si shan lou"
Tao Xingzhi ge qu. I
No full textSide A. 1. 捧著一顆心來不帶半根草去(一)(二) ; 2. 在我的世界里小孩青年最大 ; 3. 一群小好漢(一)(二) ; 4. 追悼慈母歌 ; 5. 梅香苦 ; 6. 三代 ; 7. 朝陽歌 ; 8. 小庄晓 ; 9. 问江 ; 10. 诗的学校 ; 11. 紀念牛頓与伽利略 ; 12. 拉車 ; 13. 马克思颂 ; 14. 跟青年學 ; 15. 歌唱现代 ; 16. 寂寞 ; 17. 爱国歌 ; 18. 科学的春天 ; 19. 小小徽机真灵巧 ; 20. 玩科学把戏真有趣 ; 21. 水姑娘午曲 -- Side B. 1. 大哉陶子 ; 2. 哭陶先生 ; 3. 我是中国人 ; 4. 國民與我 ; 5. 人民教师我爱你 ; 6. 我们的青春常在 ; 7. 千教万教教人求真, 千学万学学做真人 ; 8. 我要看看世界 ; 9. 今天 ; 10. 少年 ; 11. 我的小怀抱 ; 12. 看荷花舞 ; 13. 人的体操 ; 14. 问到底 ; 15. 立大志, 求大智, 做大事 ; 16. 团结御侮文体 ; 17. 民之所好三首 ; 18. 诗人节祝词 ; 19. 只道早还乡 ; 20. 好了歌 ; 21. 中国小孩子过新年 ; 22. 教师歌 ; 23. 忠心之歌 ; 24. 我爱有趣的谈天会 (未录完).陶城曲 ; 陶城演唱 ; 杜鳴心, 陳貽鑫, 巫漪丽鋼琴演奏.Possibly reproduced from other commercial recording or radio broadcast (Pending for review)"如蘭, 學鐄教授惠存: 陶城, 陳樹新贈, 1988.8.26"--Side A.Electronic reproduction from Rulan Chao Pian Audio Cassette Collection.Composer : 陶城.Singer : 陶城 ; Piano : 杜鳴心, 陳貽鑫, 巫漪丽.Sung in Chinese.Tao Cheng qu ; Tao Cheng yan chang ; Du Mingxin, Chen Yixin, Wu Yili gang qin yan zou."Rulan, Xuehuang jiao shou hui cun: Tao Cheng, Chen Shuxin zeng, 1988.8.26"--Side A.Composer, Tao Cheng.Singer: Tao Cheng ; Piano: Du Mingxin, Chen Yixin, Wu Yili.Detailed contents in vernacular field only
Taoyuan chi du: shi er juan. v.1
No full text王韜著.綫裝, 1函.框15.9x11.8公分, 14行23字. 白口, 四周雙邊, 單黑魚尾. 版心上鐫題名, 中鐫卷次及小題, 下鐫葉次及"甫里王氏藏本, 天南遯叟手校"內封背頁牌記鐫"滬北松隱廬第四次刊行"Wang Tao zhu.Xian zhuang, 1 han.Kuang 15.9 x 11.8 gong fen, 14 hang 23 zi. Bai kou, si zhou shuang bian, dan hei yu wei. Ban xin shang juan ti ming, zhong juan juan ci ji xiao ti, xia juan ye ci ji "Fuli Wang shi cang ben, Tiannandunsou shou jiao"Nei feng bei ye pai ji juan "Hu bei Song yin lu di si ci kan xing
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Song Gaozong (r. 1127-1162) and his chief councilors: A study of the formative state of the Southern Song dynasty (1127-1279)
No full textIn 1126, the Song was invaded by the Jin, a northern enemy who sprang up to become a continuing lethal threat to the survival of the Northern Song dynasty (960-1127). The Song people, in the meantime, suffered an unprecedented humiliation when their two emperors were captured and taken as hostages to the north by the invading Jin army. As the Song regime was collapsing, Zhao Gou (1107-1187), later referred to by his temple name as Song Gaozong (r. 1127-1162), strove to ascend the throne and perpetuate the Song regime in the south--known to historians as the Southern Song (1127-1279). The process was difficult not only because the Song emperor himself was relentlessly pursued by the Jin army, but also because the Song itself could hardly decide on an appropriate policy regarding the invaders. It took nearly sixteen years for the Song to finally settle in south China and obtain formal recognition from the Jin as a sovereign state. This dissertation adopts a method which focuses on studying the interactions between Song Gaozong and his series of ten chief councilors in shaping the future of the Southern Song. The successive chief councilors, appointed by Song Gaozong, are studied based on the Song records with special attention to their interactions with the emperor in discussing important issues. The dissertation evaluates each chief councilor's performance and explains why some chief councilors stayed in power longer than others. The dissertation also expounds how the Song emperor maintained a balance between two conflicting factions and how he struggled to consolidate his power in adverse circumstances. By consideration of Gaozong and the influence of successive chief councilors, the author depicts a picture showing how the Southern Song was established.This item was digitized from a paper original and/or a microfilm copy. If you need higher-resolution images for any content in this item, please contact us at [email protected] file replaced with corrected file August 2023
Beyond interfaces: A usability study of Chinese journal databases
No full textA presentation at the Council on East Asian Libraries (CEAL) annual meeting in Boston, MA on March 21, 2007
Rose Galaida and the Central China Relief Records, 1946: Discovery, Investigation, and Implications
No full textThe materials in the Central China Relief Records (CCRR) collection provide a window to the experiences of Rose Galaida in Hubei. The collection consists of about 100 documents totaling over 300 pages (excluding duplicate copies) and 5 photographs.Peer reviewedPublished in the Journal of East Asian Libraries and available from the journal at: https://scholarsarchive.byu.edu/jeal/vol2011/iss153/
The Tao of Miyazaki
No full textThrough this investigation into the anime films of Hayao Miyazaki, the author uses the methodologies of hermeneutics and hermeneutical phenomenology to discover just what it is that audiences around the world find so captivating about these movies. She analyzes the characters, their shadow sides, and their portrayal of archetypes according to Jungian psychology. She also studies the settings, plots, and themes of these films, and evaluates the artwork. Throughout this research into Miyazaki's anime, the author looks for levels of meaning regarding social, psychological, ecological, spiritual, and moral issues, and searches for patterns and themes that express universal essences. The patterns and principles she discovers fit into that Eastern concept of spirituality known as the Tao, a holistic and universal phenomenon that is understood as the source of everything, a philosophy of living, and a "Way" or path to enlightenment (Jung, 1997, Watts, 1993). The author presents nine of Miyazaki's films and compares each with an aspect of the Tao. Through these films, she explores the Tao principles of P'uh or simplicity; Li, our relationship with nature; Wu Wei, sensitivity to circumstances; Te, moral integrity and virtuous action; and the Yin-Yang Polarity or harmony. The author also compares Miyazaki's movie-making methods with these principles, establishing a connection between his films and his techniques, and making the argument that Miyazaki is a Tao master
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